Monday, August 31, 2009

WIMAN MAYA (Nitade Chula, A+++++). I think the heroine of WIMAN MAYA is as interesting as Becky Sharp in VANITY FAIR (William MakepeaceThackeray), or the heroine of THE INSECT WOMAN (1963, Shohei Imamura). I like it very much that WIMAN MAYA is pessimistic about love, though not as pessimistic as Fassbinder.http://www.youtube.com/watch?v=wMBw-bGRDFc

Now WIMAN MAYA has a chance to be my most favorite stage play of 2009, but it has to compete with LOVE AND MONEY (Adjjima Na Patalung, A++++++++++), and BLOOD CANNOT BE CHANGED (Wannasak Sirilar, A++++++++++).

WIMAN MAYA proves that melodrama can be so powerful if the main characters have hearts and souls.

--Another film which I like very much in this category is INTERVIEWS (2006, Brooke Andrew, A+), which interviews people from all around the world by using the same set of questions. My favorite parts in this film include the part in which a woman from Jamaica replies to the question, "Do you want to be a white person?" by saying "No, I have enough problems already," and the part in which an old woman from Argentina talks about her family which became the victims of military dictatorship.

--A CHRONICLE OF LOVE AND PAIN (2009, Kanchat Rangseekansong) portrays the extremely serious problem of Thailand right now—how Thai people cannot tolerate different thinking. The film has four parts. My most favorite part is NO COUNTRY FOR STANDING MEN, which shows how Thai society treats people who think differently. When will this problem end? In my next life?http://farm4.static.flickr.com/3516/3866182539_4afe5a254c_o.jpg

Saturday, August 29, 2009

I like this play very much, though I think if I were the heroine's secretary, I might have quit the job. One thing that I like very much in this play is the fact that it can make entertainment out of a serious subject. I think it is more entertaining than LORENZO'S OIL (1992, George Miller, A+), which also deals with chemical problems. I think this play is as effective as the documentary SICKO (Michael Moore, A+), which deals with the public healthcare system of USA. I also like the fact that this play is against how some people worship "profits" and "market" more than humanity, though I wonder if it would be better or not if the play chooses to portray the villains from foreign chemical/drug company as "people who look like us", rather than portraying them as "people who look much more villainous than us", so that the play can remind us that people who worship profits too much are actually all around us. They don't look different from us. They may even look more respectable than us. They may even be a part of ourselves.

"At this point, the film casually moves to another level, becoming a painfully precise portrait of a generation that just doesn't know where it stands in terms of class and politics: afraid of being bourgeois, yet longing for the whole middle-class package; hoping that their petulant postings come off as expressions of a rebellious spirit, but so tangled up in irony that they're helpless the moment things get serious."

This is what Kent Jones wrote in Film Comment, July/Aug 2009, about EVERYONE ELSE:

"When a couple enters the terrifying gray zone between commitment and abandonment, they go armed with the ability to create an unsettling physical vocabulary. The deeper they go, the more treacherous certain looks and gestures become. The timing of a returned stare—the relative speed of the return and length of the prolongation—has the power to wound. An exquisitely punctuated smile can be read as a prelude to rejection. And lovemaking is relegated to a temporary respite, resorted to with increasing desperation."

What would you sacrifice to start your life over?A woman leaves her lover to look for answers in a new land. At the same time, a Burmese migrant is smuggled into Bangkok to work as a maid and a Rohingya refugee flees Myanmar by boat...

BEGIN AGAIN, tells 3 parallel tales of what pushes someone to leave home, and the adventure, sacrifices and challenges they face when they must build a new life.

BEGIN AGAIN is part of "The Next Fresh Thing," B-Floor's 10th Anniversary celebration program showcasing the diversity and vigor of B-Floor's members with four new productions by four different directors.

Thursday, August 27, 2009

For my own convenience, I think I should gather all the links to video comments for the Marathon Thai Short Film Festival in 2009 in one place.

These videos are made by Pongthorn Bunterngsook, a member of the Professional Dry Cleaner, except the video for July 22, which is made by Kanchat Rangseekansong, and the video for July 29, which is made by Patchara Eaimtrakul.

The videos are in Thai. The title of the film in parentheses is the one I talked about in the video.

Monday, August 24, 2009

I'm very glad you are interested in COLOURS ON THE STREETS. If you want to contact the filmmaker, you can send an e-mail to him at nucook(at)hotmail(dot)com, or call him at 086-900-4199. He cannot talk or write in English very well, but I guess you can speak Thai.

Some trivia about Weerapong and his film:

1.His nickname is Gla, which means "brave" in Thai.

2.I think I first met him in 2001, because I remember that he talked to me about a Thai short film called WHEN KOSIT WENT TO DEATH (2001, Kosit Juntaratip, 28 min, A+), because he knows Kosit, who is an interesting Thai artist.

3. He is not a close friend of mine, but I talk to him from time to time when we run into each other at the library of Thammasat University. He often attends the film programs of Duangkamol Filmhouse there, and he is also a friend of Sonthaya Subyen, who runs Duangkamol Filmhouse.

4.His paintings are devoid of bright colors, and remind me of dirty stains in an old house. I think his paintings correspond a lot to his film, which seems to show the true colors of the streets, and avoid trying to make the streets look more beautiful or more colorful than they really are.

I'm sorry I don't have more photos of his paintings, but I think his paintings have something similar to the painting of Fumiko Shinkai in the link below, because Shinkai's painting also looks like a dirty stain in an old house.http://www.interprint.su.ac.th/final_exhibition_D.html

5.He used to take a lot of photos of ordinary streets and cats. In my personal opinion, his photos are not "beautiful" like most beautiful photos shown in galleries, because his photos are documentary-like. His photos really show how the streets look like, show how dirty or how old the streets are.

6.He told us that he also has a ten-hour version of COLOURS ON THE STREETS, though he has never shown this version to the public. He just keeps this ten-hour version for himself to see. I guess many short scenes in the version we saw become longer in the ten-hour version. He also told us that this ten-hour version, which is like a video diary, has many scenes which he shot while he just woke up and still felt very drowsy.

7.He stumbled in a field of grass while he was shooting this film. That's why in one scene in this film, we saw the image suddenly moving down on to the ground.

8.He told us that during the shooting of this film, he once placed a camera on a floor, so that he could shoot himself walking in front of that camera. But when he was walking in front of the camera, a middle-aged woman tried to pick up the camera from the floor because she didn't know that the camera belonged to him.

9.He seems to have a lot of stories in his mind concerning the images in his film or his photos, though he doesn't tell these stories directly.

10. Some scenes in this film were shot at his friend's house in Ladkrabang.

11.I think Weerapong is one example of an interesting trend in Thai filmmaking now—filmmakers who don't come from bourgeois families. This trend happens partly because of the cheapness of digital filmmaking, which enables these filmmakers to express themselves, their lives, and their visions of the world. Other notable filmmakers in this trend may include Weerasak Suyala, who is a policeman in Ubon Ratchathani Province, and who possesses a really unique film language; and Romrawin Chumjin, who directed DEK DANCE (2009, 11 min, A+) and JATUKAM-JATUKAM (2007, 10 min, A+/A), which told the stories about his own community.

I agreed with what Filmsick wrote about this trend in Thai filmmaking. He wrote that "The more filmmaking goes farther away from the hands of film students and urban bourgeois people, the more filmmaking can broaden the power of gazing. And it will increasingly undermine the old saying that FILMMAKING IS A TOY OF THE BOURGEOISIE."http://filmsick.exteen.com/20090721/marathon-diary-18-19-7-52

--Talking about trains, another friend of mine, Sompot Chidgasornpongse, is making a documentary about trains in Thailand called ARE WE THERE YET? I think he is editing his documentary now.http://www.sompotboat.com/

Saturday, August 22, 2009

The Philippine short film program is one of the best programs I have ever seen. The four films shown are uncompromisingly experimental. ETERNITY (1983, Raymond Red) makes me feel as if the film comes from a twilight zone. THE BRIEF LIFE SPAN OF FIRE: ACT 2 SCENE 2: SURING AND THE KUK-OK (1995, Auraeus Solito) is extremely beautiful. THE RETROCHRONOLOGICAL TRANSFER OF INFORMATION (1996, Tad Ermitano) feels like one of the best German films. SURREAL RANDOM MMS TEXTS FOR A MOTHER, A SISTER AND A WIFE WHO LONGS FOR YOU: LANDSCAPE WITH FIGURES (2008, Christopher Gozum) is shocking, because it shows an eye operation in extreme close-up.

My poll 61 is inspired by THE FEAST, which show many viewpoints on the film industry in Italy, including the viewpoints of young people who want to be film directors, a young girl who like to be with a star, a burnt-out director, villagers who remember old films, etc.

So I decided to make a list of my favorite things which include many viewpoints on a subject, or several contrasting viewpoints on a subject.

THESE FILMS/PLAY/NOVEL CONTAIN MANY VIEWPOINTS OR SHOW MANY ASPECTS OF A SUBJECT. WHICH ONES DO YOU LIKE?

This mockumentary shows us the problems of female actresses in France, including famous actresses such as Jeanne Balibar, former famous actresses such as Romane Bohringer, arguably famous actresses such as Karin Viard, and a wannabe actress. I think this film should be screened together with SOIS BELLE ET TAIS-TOI (1981, Delphine Seyrig), which interviews Jenny Agutter, Juliet Berto, Ellen Burstyn, Anne Wiazemsky, Barbara Steele, and Millie Perkins. (I haven't seen SOIS BELLE ET TAIS-TOI, but I knew about this film from Mubarak Ali.)http://www.imdb.com/title/tt0076733/

2.THE ARTIST'S FATE (2009, Wilaiwan Praejaroen, Thailand)

This documentary interviews five young Thai artists. Some of them are already famous. Some are not. What I like very much in this documentary is the eyes of these artists. It's such a great pleasure to see the sparkling in the eyes of these artists while they are talking. Some audience may think that watching people talking in this film is boring, but I think the opposite.

This video installation gives us various viewpoints, literally. This video installation shows us the views from a camera which is passed from one person to another person to another person… . This video installation makes me realize that in order to see a thing fully (or understand a thing more completely), we should watch it from various viewpoints (or listeningto other people).

11.THE PINOCHET AFFAIR (2001, Patricio Guzman, France/Chile)

This documentary is obviously against Pinochet, so I'm very surprised that Guzman also interviews a friend of Pinochet who talks fondly of him. I think Guzman is a very broad-minded person. If I were him, I wouldn't have been able to listen to Pinochet's friend without getting angry.

Thursday, August 20, 2009

COLOURS ON THE STREETS (2009, Weerapong Wimuktalop, 62 min) will be shown on Sunday, August 23, 2009, around 13.00 hrs, at the auditorium on the fifth floor of the Bangkok Art and Culture Center, as a part of the 13th Thai Short Film and Video Festival.

Weerapong also directed a short film called DAO KHANONG (2006, A+), which is a part of the 15/15 Film Festival. He is a cinephile and an artist. His art works were shown at the Bangkok University Gallery (BUG) as a part of the 24 HRS. ART PROJECT in April this year.

Monday, August 17, 2009

(The information below is posted by using Internet Explorer to try to see the difference between using it and Google Chrome.)

I just started using Google Chrome instead of Internet Explorer and found some problems. When I copy and paste a text from Microsoft Word into this blog, I have to type the Enter bar again to make a new paragraph.

When I use Internet Explorer, I don't have to type the Enter bar again. The paragraphs in my blog look the same as the paragraphs in Microsoft Word. Do anyone of you know how I can use Google Chrome without having to arrange new paragraphs again?

I just started using Google Chrome instead of Internet Explorer and found some problems. When I copy and paste a text from Microsoft Word into this blog, I have to type the Enter bar again to make a new paragraph.

When I use Internet Explorer, I don't have to type the Enter bar again. The paragraphs in my blog look the same as the paragraphs in Microsoft Word. Do anyone of you know how I can use Google Chrome without having to arrange new paragraphs again?

BODILY FLUID IS SO REVOLUTIONARY (2009, Ratchapoom Boonbunchachoke, 41 min, A++++++++++) will be shown on Sunday, August 23, around 12.30 hrs, at the auditorium on the fifth floor of the Bangkok Art and Culture Center, as a part of the 13th Thai Short Film and Video Festival.

Sawanee Utumma, the leading actress of BODILY FLUID IS SO REVOLUTIONARY, is one of the greatest Thai stage actresses. She also has a small role in ORAHUN SUMMER (2008, Pawat Panungkasiri, A-/B+), SAMCHUK (2009, Thanit Jitnukul, A+), and DEATH HAPPEN (2009, Taklew Rungrut, A-).

Saturday, August 15, 2009

I was tagged by Peter Nellhaus in Facebook to create a list of fifteen movies that will always stick with you. My list is not about my most favorite films of all time, but about films which come up in my mind right now. So my list includes films which I just saw and like them very much.

Rules: Don't take too long to think about it. Fifteen movies you've seen that will always stick with you. First fifteen you can recall in no more than fifteen minutes. Tag fifteen friends, including me because I'm interested in seeing what movies my friends choose. (To do this, go to your Notes tab on your profile page, paste rules in a new note, cast your fifteen picks, and tag people in the note -- upper right hand side.)

The Art Center of Chulalongkorn University is very pleased to announce an international exhibition of visual art in collaboration with the School of Art and Design at Coventry University in Britain. Including artists from Thailand, Ireland, Singapore, Taiwan and Britain – though many have transnational affiliations – Unspeaking Engagements will travel to Coventry in 2010.

The artists in Unspeaking Engagements explore processes of physical and/or durational engagement as a means of constituting the artwork. Each address their own or the viewers’ awareness of their body in relation to time and space. At issue are questions of how such awareness can be cultivated, felt, represented and ultimately proliferated through the work of art. Unspeaking Engagements showcases artworks as sites of shifting experiences, in differentiation from artworks that require detached observation and propose fixed or final interpretations.

This exhibition proposes a detailed understanding of major questions within international contemporary art practices - who does what, how, when, and to whom – and consequently links theoretical debates about the intersection of performance and performativity to more recent critical issues of relational or participatory art. However, the international basis of Unspeaking Engagements highlights different terms for understanding common methods and aims. Theories and sensibilities developed in one part of the world can be radically tested in another, provoking unexpected intensities and new formations.

Works to be included are drawing, video, interactive media, site-specific installation, performance and objects.

Note on the CuratorsDr. Brian Curtin is a freelance art writer and curator based in Bangkok, and is currently an adjunct lecturer on the PhD program in Design Arts at Silpakorn University.

Steve Dutton (RCA) is an artist and Professor in Creative Practice at Coventry University in the UK. His projects have been exhibited throughout the UK and internationally.

Daw Aung San Suu Kyi verdict: “Yet another travesty of justice”[Mae Sot, Thailand] The Assistance Association for Political Prisoners (Burma) (AAPP) today strongly condemned the guilty verdict and three year jail term with hard labour - commuted by Senior General Than Shwe to 18 months under house arrest - handed down to Nobel Peace Laureate and democratic opposition leader Daw Aung San Suu Kyi, and her two live-in party members Daw Khin Khin Win and Daw Win Ma Ma. American man John Yettaw was also found guilty of intruding into Daw Aung San Suu Kyi’s home, and sentenced to seven years with hard labour.

“There is no justice, no rule of law, and no independent judiciary in Burma,” said Tate Naing, Secretary of AAPP. “The continued detention of Daw Aung San Suu Kyi is the jailing of Burma’s future. She is the true leader of Burma.”

The trial has been yet another travesty of justice perpetrated by the regime since it illegally assumed power in 1988. Since then, more than 10,000 people have been arrested and jailed for advocating for democracy and human rights. Today there are more than 2,100 political prisoners in Burma’s detention centres, labour camps and jails.

Bo Kyi, Joint Secretary of AAPP, said, “The fact that Daw Aung San Suu Kyi has been sentenced to house arrest rather than jail is immaterial. The point is the regime wants her to have a criminal record so they can prevent her from standing as a candidate in future elections.”

Bo Kyi continued, “It is only through the Burmese people’s efforts - backed by the international community - that Burma will move towards a new political system where the rule of law prevails, equality reigns and the right to live free from fear is fully realized.”

AAPP today calls on the UK and US to show international political leadership on Burma at the United Nations. The UK chairs the UN Security Council in August whilst the US has its turn in September. Together they should press the UN Security Council to pass an arms embargo on Burma, and initiate a Commission of Inquiry into crimes against humanity in the country.

-ENDS-

For media interviews, please contact:

Tate Naing, AAPP Secretary +66(0)89-899-7161

Bo Kyi, AAPP Joint-Secretary +66(0)81-324-8935

Notes to editors:

In July 1989 Daw Aung San Suu Kyi was first detained under the State Protection Act and placed under house arrest at her mother’s home at 54 University Avenue, Rangoon."

Monday, August 10, 2009

I love HEREMIAS nearly as much as DEATH IN THE LAND OF ENCANTOS, but I put DEATH IN LAND OF ENCANTOS above HEREMIAS, because I would like to see DEATH again, because of its complex story. HEREMIAS affects me very strongly, but my desire to see it for the second time is not as strong as my desire for DEATH.

4.MELANCHOLIA

I exclude HEREMIAS BOOK 2 from the list, because the film is not complete yet.

I was stabbed in the heart by the 20-minute dying scene in EVOLUTION OF A FILIPINO FAMILY (2004, Lav Diaz, A++++++++++), and is still bleeding inside.

I think the scene is very powerful, though we know that the character would keep on struggling like that for a very long time. This is just one of many examples that show that the real power of Diaz's films is not about "storytelling", or just telling what happens, but may be about how it affects our feelings, emotions, consciousness, subconsciousness, unconsciousness, how we perceive the world/universe, how we experience our lives, how we perceive/experience time, how we can feel/share the pain of others, how we can sympathize/understand the oppressed, and how/why we must sacrifice our lives for something. If this scene ends in one minute, the story can still be told completely, but it wouldn't have affected me like this. The duration of this scene is one of the reasons why I feel as if the scene has stabbed me in the heart and leaves a permanently open wound in it.

The relationship between two persons (or more than that) is different and variety. Many relationships may be not accepted or understood by social convention. But these shorts dare portray this “taboo” beautifully.

Shadow of a Fire (L’Ombre D’Un Feu)30 Mins, 2008, SwitzerlandDirector Mikael Ivan RoostContact mir@mirarts.netCarole attempts to encounter other women through the Internet. She desperately tries to escape the memory of Fatima, the beautiful and sparkling middle-eastern girl, who became her obsession since they met…

Heiko13 Mins, 2007 , PortugalDirector David BonnevilleContact dbonneville@gmail.comA seventy year old aesthete is in a relationship with a young man named Heiko. It is a fetishist relationship taken to extreme exoticism.

About Colors and Razors (Entre Cores E Navalhas)15 Mins, 2008, BrazilDirector Catarina Accioly , Ibere CarvalhoContact catarina@dharmafilmes.com.brEveryday Anthony, a hairdresser, goes to work by bus. One day he notices that Esperanca, the bus collector, has a certain beauty hidden in her untidy look. After some time, Anthony and Esperanca start a relationship that cannot be accepted by social conventions. These meetings provoke a deep change in their lives and their appearance.

Homo Baby Boom27 Mins, 2008 , SpainDirector Anna BoludaContact annaboluda@gmail.comGround-breaking legal changes in Spain in 2005 (same-sex marriage and adoption for homosexual couples) changed the lives of two-mom and two-dad families. Six of them from the Barcelona area tell their stories in this first-person documentary.

Wednesday, August 05, 2009

1.the feelings that I still don't know enough about the characters in the films, and want to know more about the characters, want to see more of their lives, or to say it in another way, the feelings that the films are still too short

2.the question about the existence of God, or the governing force in the universe. Is this governing force benevolent or malevolent? HEREMIAS and DEATH IN THE LAND OF ENCANTOS give me some cosmic feelings, and these cosmic feelings make Diaz's films very different from other political films, such as FIGHT FOR US (Lino Brocka)

3.The sense that human beings just temporarily pass through the world/this earth, and the world may not have mercy or may not feel anything towards us. The world existed before we are born and will still exist after we are dead. This sense is derived from many scenes in which we see the places before character enter and after characters exit

4.The suffering from injustice

5.The dark forces in society and the people's fear to rise up against them, as shown in the last hour of HEREMIAS, the victim's refusal to testify in MELANCHOLIA, and the paranoid of Hamin in DEATH IN THE LAND OF ENCANTOS

6.the important things which happen offscreen, such as the cart stealing in HEREMIAS (2006), the death of Hamin in DEATH IN THE LAND OF ENCANTOS (2007), or the death of Renato in MELANCHOLIA (2008)

7.The surrealistic/absurdistic touch, such as the paper-eating performance in MELANCHOLIA, and the dark-skinned man who warn people to hide in DEATH IN THE LAND OF ENCANTOS

8.The distance from the characters, which helps preventing the films from being overly dramatic

POLL 2: FRED KELEMEN'S FAVORITE PAINTERSIn the Thai book FILMVIRUS 2, Fred Kelemen gave a list of his favorite painters, including the six painters below. So I just would like to know who is your favorite painter among these six painters.

POLL 36: DOCUMENTARIES ABOUT SPECIFIC JOBSTHESE (SEMI-) DOCUMENTARIES DEAL WITH SOME SPECIFIC JOBS OR INDUSTRIES. WHICH ONES DO YOU LIKE? THESE (SEMI-) DOCUMENTARIES DEAL WITH SOME SPECIFIC JOBS OR INDUSTRIES. WHICH ONES DO YOU LIKE?

EVOLUTION OF A FILIPINO FAMILY will be shown this Saturday at 10.00 AM at Conference of Birds Gallery in Bangkok.

Olaf Moller wrote about EVOLUTION OF A FILIPINO FAMILY (2004, Lav Diaz) in Film Comment magazine, March/April 2005. Here is the excerpt from Olaf's writing:

"The festival's greatest film—and at 10 hours and 43 minutes, the longest—was Philippine filmmaker Lav Diaz's EVOLUTION OF A FILIPINO FAMILY, a high modernist epic about a family of farmers living for 15 years under a state of siege during the Marcos era. In one plot thread, a family member is hired to kill real-life filmmaker Lino Brocka; to study his target, he's given a tape of THE LOST BROCKA, a film directed by Diaz's BATANG WEST SIDE documentarist and moral catalyst Taga Timog, but is so moved by Brocka and his vision of his country that he is unable to go through with it—and is stabbed. In a single, soul-wrenching, mesmerizing take, a long bleeding stumble to his last breath becomes an awe-inspiring testament to the idea that the power of cinema belongs to the people. That such sentiments are evoked in a work which maybe only a handful of people will see is only a surface contradiction—Diaz's film isn't meant for any market, it's an offering to the director's countrymen, who will discover it in the years and decades to come. It's a labor of love made from the passing of time and echoes reverberating faintly across history's vast plains."

Thai short films are full of interesting female characters. Some are realistic, such as the ones in PAIRS (2009, Maenum Chagasik), DAO (2009, Wasunun Hutavej), and "(APPLICATION)" (2007, Wanweaw Hongwiwat + Weawwan Hongwiwat, 21 min). Some are dramatic, such as the one in BLIND (2008, Kanjana Akasin, 30 min). Some are fantastic and very inspiring. I use the word "inspring", because these female characters inspire me to create some funny stories in my own head. I greatly enjoy my imagination inspired by these female characters very much. Thanks to all the directors who create such wonderful characters.

In my own imagination, these female characters belong to the same film and they often fight against one another. Maybe this film should be called THE WAR OF FANTASTIC WOMEN (ศึกสาวอภินิหาร).

These very inspiring female characters are:

1.The witch in THE WITCH (2009, Alwa Ritsila)http://www.fuse.in.th/node/3265I think the witch is one of the scariest Thai female characters I have ever seen.

2.Nene in I WILL RAPE YOU WITH THIS SCISSORS (2008, Napat Treepalawisetkun, 13 min)I like imagining what would happen if Nene fights against the witch.

3.The ghost in MAE NAK (1997, Pimpaka Towira)

4.The ghost of Gimruedee in THE PEN (2008, Weerasak Suyala, 60 min)I like imagining what would happen if Mae Nak fights against Gimruedee.

5.The woman who keeps a corpse in her room in THOM (2009, Suphisara Kittikunarak)

6.The reading woman in READING INAOW TO FEMALE CORPSE (2001, Araya Rasdjarmrearnsook)I like imagining what would happen if these two corpse-obsessed heroines meet each other.

7.The woman who lets people watch her masturbating in UNPRONOUNCABLE IN THE LINGUISTIC IMPERIALISM OF YOURS (2008, Ratchapoom Boonbunchachoke)

8.The woman who masturbates in LONG NIGHT—SHORT FILM (2008, Michael Shaowanasai)

16.The little girl who brings death to her own family in LITTLE ANGEL (2007, Kitisak Koonpetch 22 min)I like imagining what would happen if Christmas Eve meets the murderous little girl of LITTLE ANGEL.

Monday, August 03, 2009

Tossapol Boonsinsukh's new work will be shown at Patravadi Theatre on Friday, August 14 at 20.00 hrs. It is a part of the dance show WE'RE GONNA GO DANCING 2009. Tossapol works with Thanapol Virulhakul and Vidura Amranand on this work.

Coconutcream, the musical band of Tossapol Boonsinsukh, gave its first performance a few weeks ago, while Prap Boonpan made the visual background for this show. You can view the clips of its performance here:http://yrna.wordpress.com/2009/07/22/556/

An excerpt from "Painting Without a Brush by Kade Javanalikikorn" by Assoc Prof Dr Somporn Rodboon"

A unique characteristic of Javanalikikorn's paintings is the use of colors to convey emotions and feelings through the paint which had been squeezed directly from thetubes to the canvas; no brush had been used to execute the strokes which reflectthe artist's emotions and feelings while he was working. The result was the layers ofcolors and paints which created various textures on the canvas. The different textureswere from folding canvases with paints still wet over themselves and over one another.This technique not only created the dimension of depth in the paintings but also thedimension of emotions of the artist. Javanalikikorn's use of color clearly shows hiscreative energy which is rare because without the artist's powerful feelings, neitherthe colors nor the textures would be meaningful and alive..."

Sunday, August 02, 2009

1.A PLACE OF DIFFERENT AIR (Guntachai Family, 24 min, experimental, approximately A+)สถานต่างอากาศ/ครอบครัวกันทะชัย/24.00

I didn't see the first five minutes of the film. At the end of the film, the credit says that the film is directed by Chaloemkiat Saeyong, so I'm not sure who is the real director of this mesmerizing film.